Beardsley, Aubrey Vincent (1872–1898)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Art Nouveau ◽  
Aesthetic Movement ◽  
Progressive Group ◽  
Victorian Period ◽  
The Aesthetic ◽  
Art For Art's Sake

Aubrey Beardsley was an English illustrator of the late Victorian period. His fluid, sinuous illustrations were influenced by Japanese prints and by the curvilinear Art Nouveau style. Beardsley was a prominent member of the Aesthetic Movement, a progressive group of artists and writers who pursued the cause of art for art’s sake and rejected the repressive constraints of Victorian society.

scholarly journals Facebook for Facebook's Sake

2018 ◽  
Vol 10 (1) ◽  
pp. 26-38
Author(s):  
Kevin Jacobs
Keyword(s):  
Artistic Expression ◽  
Digital City ◽  
Aesthetic Movement ◽  
For Profit ◽  
Take Back ◽  
Facebook Usage ◽  
The Aesthetic ◽  
Art For Art's Sake ◽  
Insight Into ◽  
Central Claim

The affective labour debate has become mainstream in communications studies. In this paper, I The affective labour debate has become mainstream in communications studies. In this paper, I suggest the Aesthetic Movement of the late 19th century as inspiration for how users can use Facebook with the knowledge that their data is being used for profit. I present Facebook usage as art, creating an analog with aesthete Oscar Wilde’s essay, “the critic as artist” (1891/2010), where he presents critics as artists. Other theorists, especially Walter Benjamin provide grounding for making the argument that Facebook usage is an artistic expression. I then turn to my inversion of Walter Pater’s “art for art’s sake”, the seminal idea of Aestheticism and propose Facebook for Facebook’s sake as a method for Facebook use. While more advanced remuneration concepts have yet to arrive with such force that they could provide the proper payment to users, Facebook for its own sake is a way to appreciate Facebook’s beauty in the meantime. Baudelaire and Debord’s psychogeographic theories provide methods for navigating cities that I apply to examine Facebook as a digital city. The central claim of this paper is the following: By using Facebook for Facebook’s sake, users take back some of the dignity taken away from them in the exploitation of free labour. Finally, I turn to critiques of Aestheticism and how contemporary software might provide insight into using Facebook in an ethical manner. Users will have to consider each action differently; how would liking something affect users’ artistic expression of themselves? In this way, while the affective labour debate continues, users can use Facebook for its own sake.

The Late-Victorian Little Magazine

2018 ◽  
Author(s):  
Koenraad Claes
Keyword(s):  
Integrated Design ◽  
Small Scale ◽  
Scale Production ◽  
Victorian Era ◽  
Aesthetic Movement ◽  
Little Magazines ◽  
The Arts ◽  
Victorian Period ◽  
The Aesthetic ◽  
Mainstream Press

Fed up with the commercial and moral restrictions of the mainstream press of the late Victorian era, the diverse avant-garde groups of authors and artists of the Aesthetic Movement developed a new genre of periodicals in which to propagate their principles and circulate their work. Such periodicals are known as ‘little magazines’ for their small-scale production and their circulation among limited audiences, and during the late Victorian period they were often conceptualized as integrated design project or ‘Total Works of Art’ in order to visually and materially represent the ideals of their producers. Little magazines like the Pre-Raphaelite Germ, the Arts & Crafts Hobby Horse and the Decadent Yellow Book launched the careers of innovative authors and artists and provided a site for debate between minor contributors and visiting grandees from Matthew Arnold to Oscar Wilde. This book offers detailed discussions of the background to thirteen little magazines of the Victorian Fin de Siècle, situating these within the periodical press of their day and providing interpretations of representative content items. In doing so, it outlines the earliest history of this enduring publication genre, and of the Aesthetic Movement that developed along with it.

Saintsbury and Art for Art's Sake in England

PMLA ◽  
1944 ◽  
Vol 59 (1) ◽  
pp. 243-260 ◽  
Author(s):  
Dorothy Richardson
Keyword(s):  
Aesthetic Movement ◽  
John Crowe Ransom ◽  
The Aesthetic ◽  
Art For Art's Sake

The aesthetic movement in England (1870–1900) now seems remote, yet since no history repeats itself more faithfully than that of criticism, the historian of ideas may well inquire what relation the Art for Art's Sake movement has to the mental, moral, and social confusion of today, especially when one hears a reviewer warning us that John Crowe Ransom, like other formal aesthetic critics of today, “often sounds like an aesthete of the 'nineties.“

The Artist as a Force for Change in W. B. Yeats

1978 ◽  
Vol 10 (1) ◽  
pp. 76-90
Author(s):  
Daniel S. Lenoski
Keyword(s):  
Fifth Century ◽  
Early Years ◽  
Human Beings ◽  
Aesthetic Movement ◽  
The Aesthetic ◽  
Art For Art's Sake ◽  
Race And Religion ◽  
The Relationship ◽  
Literary Experience ◽  
The Ideal

W. B. Yeats has often been accused of espousing the ideal of l'art pour l'art. For example in 1898 in an essay entitled “What Should be the Subjects of a National Drama” John Eglinton expressed fears that Yeats' interest in developing ideals of literary experience in Ireland would be corrupted by his association with the aesthetic movement. A.E., though he had defended Yeats earlier, soon found himself in agreement with Eglinton. Yeats, of course, publicly renounced any intimate intercourse with the principle of art for art's sake. On the other hand, he agreed with aesthetes such as Hallam, Wilde, and Pater when they cautioned the artist against contamination by the mores and concerns of society. He also knew that the artist's ideal of beauty affected his life in a very profound way and was therefore capable of having a similar effect upon the lives of other human be-beings. I should like, in this paper, to look at Yeats' ideas about the relationship between the artist and other human beings.To Yeats the artist and his art bore a crucial relationship to society. Certainly, Yeats did feel that society was a corrupting influence. It was certainly necessary for the artist to be in society but not of it, and to fly by the nets of family, race, and religion. Nevertheless, Yeats felt that such a separation was not ideal, neither was it the fault of the true artist. Ideally, the artist and his society should share a unity of culture and a unity of being. Even during the early years of his career, he thought that art should arise spontaneously out of society as the expression of soul, just has it had in the Renaissance, in the fifth century B.C., in the Byzantine civilization, and around the turf fires in the west of Ireland.

The Artist and the Man in “The Author of Beltraffio”

PMLA ◽  
1968 ◽  
Vol 83 (1) ◽  
pp. 102-108 ◽  
Author(s):  
Viola Hopkins Winner
Keyword(s):  
Personal Life ◽  
Aesthetic Movement ◽  
Realistic Theory ◽  
Psychological Conflict ◽  
The Aesthetic ◽  
Treat All ◽  
Child's Death ◽  
Art For Art's Sake ◽  
Aesthetic Ideas ◽  
Critical Writings

In the light of James's contemporary critical writings and of the precepts of the aesthetic movement, Mark Ambient emerges not as a Wildean aesthete but rather as James's spokesman on the art of fiction. In espousing a realistic theory of art, in stressing the artist's right to treat all of life without puritanical restrictions, and in his passionate concern for formal perfection, Ambient voices the ideals of the serious, literary side of the aesthetic movement. His sister represents its excesses and affectations; his wife, the Puritan- Philistine hatred and fear of art; and the narrator, the disciple who, until enlightened through his encounter with the artist, had naively subscribed to the art for art's sake formula. Though Ambient is artistically daring, in his personal life he is respectable and morally responsible. However, the fusion in the story between the aesthetic ideas and the moral, psychological conflict is imperfect. Though there is a suggestion that Ambient's imaginative openness to life has led to a culpable passivity in his role as husband and father, his responsibility for the child's death is inadequately related to his portrayal as an artist and the passages expounding his views on art seem incompletely assimilated to the action.

JAPANESE AESTHETICS IN AMERICAN SILVER MASTERPIECES

2021 ◽  
Vol 1 (2) ◽  
pp. 79-88
Author(s):  
I. A. Peremislov ◽  
◽  
L. G. Peremislov ◽  
Keyword(s):  
The United States ◽  
Decorative Arts ◽  
Japanese Culture ◽  
Aesthetic Movement ◽  
Xixth Century ◽  
Man And Nature ◽  
The Usa ◽  
The Aesthetic ◽  
Unique Style ◽  
Jewelry Industry

Japanese culture with its unique monuments of architecture, sculpture, painting, small forms, decorative and applied arts, occupies a special place in the development of world art. Influenced by China, Japanese masters created their own unique style based on the aesthetics of contemplation and spiritual harmony of man and nature. In the context of "Japan's inspiration" the work refers to the influence of the art of the Land of the Rising Sun on American decorative arts and, in particular, on the silver jewelry industry in trends of a new aesthetic direction of the last third of the XIXth century, the "Aesthetic movement". The article provides a brief overview of the history of the emergence and development of decorative silver art in the United States. The important centers of silversmithing in the USA and the most important American manufacturers of the XIXth century are described in more detail. The article also touches on the influence of Japanese aesthetic ideas on European creative groups and on the formation of innovative ideas in European decorative arts. At the same time, an attempt is made to trace the origin, development trends, evolution and variations of "Japanesque" style in American decorative and applied art, in particular, in the works of Edward Moore and Charles Osborne (Tiffany & Co jewelry multinational company).

Secessionist Movement

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Fine Art ◽  
Art Nouveau ◽  
Avant Garde ◽  
The Status ◽  
The Aesthetic ◽  
Secessionist Movement ◽  
Applied Arts ◽  
Modern Movement

The Secessionist Movement is the name applied to a range of artistic splinter groups that began to emerge in the 1890s. Objecting to what they saw as the inherent conservatism of established academies, these groups ‘seceded’ or broke away from their parent institutions and launched their own, avant-garde approach. The first secessionist group appeared in Munich in 1892 under the leadership of Franz von Stuck and Wilhelm Trübner. Among the most influential secessionist groups was that founded in Vienna by a coalition of artists, architects and designers who resigned from the Association of Austrian Artists in 1897. United by the urge to elevate the applied arts to the status of fine art, members of the Vienna Secession produced exquisite work across a spectrum of creative disciplines. The aesthetic initially resembled the curvilinear Art Nouveau style, but it increasingly moved towards abstraction and geometric simplicity. The founding of the Vienna Secession thus marked the beginning of a new artistic era in Austria and heralded the birth of the Modern Movement.

Wiesenthal, Grete (1885–1970)

2018 ◽  
Author(s):  
Alexandra Kolb
Keyword(s):  
New York ◽  
Body Image ◽  
Modern Dance ◽  
Ballet Dancer ◽  
Art Nouveau ◽  
Cultural Traditions ◽  
Isadora Duncan ◽  
The Aesthetic

The Austrian dancer and choreographer Grete Wiesenthal was a transitional figure at the crossroads of ballet and modern dance. Initially trained and employed as a ballet dancer at the court opera in Vienna, she soon became disillusioned with the aesthetic traditionalism of ballet and in 1907 embarked on an independent career. Performing with two of her sisters and later as a soloist, she devised a new dance style and technique that emphasized bodily expressivity with motivational impulses provided by music. In the context of Viennese modernism, Wiesenthal’s work offered a novel interpretation of the Viennese waltz as a theatre dance form, oscillating between art nouveau and symbolism. She was groundbreaking in the Austro-German dance scene, exploring female creativity and individualism while contravening balletic principles. Although her career began in Vienna, she toured extensively across much of Europe and overseas, notably in New York, and hence extended her influence internationally. Wiesenthal shared with female contemporaries Anna Pavlova and Isadora Duncan a natural grace, expressive artistry, and flexibility of hands and arms. However, unlike Pavlova, Wiesenthal transgressed the confines and repertory of ballet – for instance, eschewing pointe work. Like Duncan, her body image was liberated, but she was less daring in her choice of costumes – for instance, dancing in sandals rather than barefoot – and drew inspiration from local cultural traditions and not from Greek antiquity.

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